Jake Cole

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Slant Magazine
For 321 reviews, this critic has graded:
  • 30% higher than the average critic
  • 5% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 7.4 points lower than other critics. (0-100 point scale)

Jake Cole's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 A Hard Day's Night
Lowest review score: 0 No Escape
Score distribution:
  1. Positive: 173 out of 321
  2. Mixed: 46 out of 321
  3. Negative: 102 out of 321
321 movie reviews
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    • 77 Metascore
    • 63 Jake Cole
    Logan
    It recognizes that the thinly veiled secret of Wolverine’s loner act is that he’s always been a cog of some kind.
    • 75 Metascore
    • 88 Jake Cole
    John Wick: Chapter 2
    John Wick: Chapter 2 remarkably balances its predecessor’s spartan characterizations and plotting with a significant expansion of scale.
    • 75 Metascore
    • 75 Jake Cole
    The LEGO Batman Movie
    The film is an unbroken chain of one-liners, sight gags, and pop-culture references, and the hit-to-miss ratio is high.
    • 65 Metascore
    • 75 Jake Cole
    A United Kingdom
    The Amma Asante film's broade sociopolitical overview is balanced by the intimate attention paid to the leads.
    • 42 Metascore
    • 75 Jake Cole
    xXx: Return of Xander Cage
    Quibbles dissipate in the face of the giddiness of the action, which builds to such a relentless head that even the serious stakes of the film’s motivation give way to a largely pleasant vibe.
    • 49 Metascore
    • 38 Jake Cole
    Live by Night
    There's nothing at the center of Live by Night, no foundation of drama to ground the convoluted mash-up of so many genre tropes.
    • 47 Metascore
    • 50 Jake Cole
    Railroad Tigers
    Despite its energetic, intricately climax, Railroad Tigers is at its most entertaining when merely observing Chan’s smaller movements.
    • 81 Metascore
    • 75 Jake Cole
    Moana
    Compared to your average Disney princesses, Moana is neither selfishly rebellious nor simplistically innocent.
    • 60 Metascore
    • 63 Jake Cole
    Allied
    In the film, Robert Zemeckis brings to bear his pop-epic scope in what's otherwise a claustrophobic story.
    • 72 Metascore
    • 75 Jake Cole
    Doctor Strange
    Nothing that Marvel Studios has produced can compare to the visual splendor of Scott Derrickson's Doctor Strange.
    • 42 Metascore
    • 25 Jake Cole
    Inferno
    It's impossible to even laugh at Inferno given how Ron Howard reduces the material to a dull spectacle of earnest puzzle-solving.
    • 47 Metascore
    • 38 Jake Cole
    Jack Reacher: Never Go Back
    The visual blandness of Edward Zwick’s style and the simplistic, easily solved case is better suited for television.
    • 43 Metascore
    • 38 Jake Cole
    American Pastoral
    Ewan McGregor’s inert adaption smooths out the Philip Roth novel's eruptions of self-loathing and doubt.
    • 51 Metascore
    • 50 Jake Cole
    The Accountant
    The film juggles a “follow the money” procedural with corporate espionage thriller, producing two competing tones that never reconcile into one fluid narrative.
    • 90 Metascore
    • 100 Jake Cole
    Paterson
    Paterson's sunny aesthetic and disposition marks a stylistic departure for writer-director Jim Jarmusch.
    • 65 Metascore
    • 38 Jake Cole
    The Unknown Girl
    This is a left-footed and clumsily insistent work, exposing the worst aspects inherent to the Dardennes' style.
    • 77 Metascore
    • 88 Jake Cole
    Personal Shopper
    The film explores the extent to which Olivier Assayas’s characters have always found, and lost, their identities through the aid of their surroundings.
    • 68 Metascore
    • 38 Jake Cole
    Deepwater Horizon
    The film should have been a cautionary tale, but in Peter Berg's hands, it's a hollow account of the resilience of the human spirit.
    • 54 Metascore
    • 63 Jake Cole
    The Magnificent Seven
    As passably entertaining as the film is, it never surrenders to the abandon of its action, and as such never feels like it shifts out of first gear.
    • 88 Metascore
    • 63 Jake Cole
    Hell or High Water
    As with Sicario, the broad strokes of the film's Southwestern stereotypes gradually sharpen into focus as the story pivots to a look at the systemic forces that shape the characters.
    • 40 Metascore
    • 25 Jake Cole
    Suicide Squad
    Like the recruited criminals themselves, the film longs to be bad, yet its forced by outside pressures to follow narrow, preset rules.
    • 58 Metascore
    • 38 Jake Cole
    Jason Bourne
    One of the more admirable traits of the original Bourne trilogy is how little pleasure it takes in its violence, but Jason Bourne revels in its vicious action sequences.
    • 60 Metascore
    • 63 Jake Cole
    Ghostbusters
    When it's good, this new Ghostbusters is funny, driven, sometimes even a bit scary.
    • 44 Metascore
    • 38 Jake Cole
    The Legend of Tarzan
    The film's action sequences are a jumble of movement and cuts that have no discernible relation to the actual motion of the characters.
    • 53 Metascore
    • 50 Jake Cole
    Free State of Jones
    After its bracing opening, the film begins to indulge the worst impulses of well-meaning liberal cinema.
    • 71 Metascore
    • 75 Jake Cole
    Three
    The film shows how much Johnnie To still experiments with his form, especially as he continues to transition to digital cinema.
    • 70 Metascore
    • 75 Jake Cole
    The Nice Guys
    Shane Black's The Nice Guys doesn't want for great exchanges, and even disposable conversations brim with acidic wit.
    • 87 Metascore
    • 88 Jake Cole
    Love & Friendship
    No Austen adaptation, even the most revisionist ones, have ever felt as vicious as Whit Stillman's Love & Friendship.
    • 75 Metascore
    • 63 Jake Cole
    Captain America: Civil War
    The undeniable fun of Civil War's action scenes only exacerbates the failure of the narrative to adequately contend with its own themes.
    • 35 Metascore
    • 38 Jake Cole
    The Huntsman: Winter's War
    The overriding despair of Winter's War's imagery calls into question who, exactly, the film is for.
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